KABHI KHUSHI KABHIE GHAM (notes by Corey K. Creekmur) ('Sometimes happiness, sometimes sorrow') 2001, Hindi, 209 minutes Directed by Karan Johar Music: Jatin Lalit, Sandesh Shandilya, and Aadesh Shrivastav; Cinematography: Kiran Deohans Patriarchy has not yet, to my knowledge, made the Endangered Species list, but Karan Johar seems to feel that it needs shoring up with this massive, opulent, yet oddly hollow film. Strange to say, KABHI KHUSHI KABHIE GHAM — compressed as K3G by the press even before it was released — may now be the most successful Indian film ever made, at least in terms of initial revenue returns. A minor scandal was created when the film should have appeared within the top-10 box office in the United States on Variety's lists for late 2001, but was omitted because the editors apparently couldn't believe that an 'unknown' film was doing 'house full' business in American theatres (albeit those catering to Indo-American audiences); the film did appear high up on the U.K. Charts at the same time.

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Meanwhile, K3G broke records throughout India, supported by a massive marketing campaign that included CDs and cassettes as well as a fancy gift book on its making. Inevitably, the film doesn't live up to the hype — could any film? — but this one seems an especially notable letdown: the storyline is rather simple and blatantly illogical at times, and the lavish sets and use of showy locations never serve much purpose; most of the songs aren't very memorable, and seem inserted rather then integrated, reinforcing a claim that is too often brought against Hindi films (unfairly in many cases — e.g., 2001's other big hit LAGAAN, which works to carefully combine song and story).

The film, through emphatically 'big,' treats a fairly narrow topic: the internal dynamics of the ostentatiously rich Raichand family, headed by Yashovardhan (a.k.a. “Yash,” played by Amitabh Bachchan) and his wife Nandini (Jaya Bachchan).

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A flashback reveals that the childless couple adopted a son, Rahul (Shah Rukh Khan), but were surprised when Rohan was born a few years later, placing Rahul in the tricky position of being the 'eldest' but not the 'natural' child of his parents. The family is a model of love and respect until Rahul falls in love with Anjali (Kajol), a perky and comically clumsy Punjabi girl from Delhi's Chandni Chowk, whose younger sister Pooja is Rohan's classmate.

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(The development of the love between Shah Rukh's Rahul and Kajol's Anjali, which occupied most of the running time of DILWALE DULHANIYA LE JAENGE and KUCH KUCH HOTA HAI, takes mere seconds here.) Yash had a classier, business-minded match in mind for Rahul: Naina (Rani Mukherjee, left with little to do in the film); but Rahul chooses love over duty in order to marry Anjali, accepting banishment from the Raichand family and mother India. All of this comes as news (in the form of a long flashback) to the adult Rohan (Hrithik Roshan), igniting his quest to reunite his broken family.

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Once a roly-poly and teased little boy, he's now a strapping, style-conscious hunk who plans to go to London and covertly work his way into Rahul's home and family, since his own brother, sister-in-law, and childhood playmate surely won't recognize him. Finally, he stages a family reunion at an upscale London shopping mall, and in a rather confusing ending, everyone quickly apologizes for previous bad behavior.

(Rahul, it seems, should have simply disrespected Yash by not staying away and all would have been forgiven; Anjali was apparently right to ask for the blessing of the man who was banishing her from his home and family.) Karan Johar's chosen epigraph for the film, used in the script and in all its advertising — 'it’s all about loving your parents' — is in fact hard to apply to the film, since Rahul's adherence to his love for his parents generally brings him grief. Rather, the film seems to actually admonish stern fathers to trust and love their children — mothers, aunties, and grandmothers, of course, love their children unconditionally even while respecting the idiotic wishes of vain patriarchs.